Özet:

Walter Benjamin perceived the documents of civilization to simultaneously be documents of barbarism. Heiner Müller also interpreted Shakespeare’s Hamlet, a cultural document, as a document of barbarism by associating it with the devastating consequences of revolutions in Europe. Müller’s The Hamlet Machine does not correspond to the formal structure of conventional theater known as drama. As a result of the discussions on theatricality, the theater sign system and the organization model of dramatic structure were revised. These revisions reformed but did not deform the dramatic structure. In the postmodern period, text lost its central position, theater’s instruments became independent, and its dramatic structure was deformed. When attempting to comprehend plays such as The Hamlet Machine that are not based on the Aristotelian structure using the concepts and methods of a dramaturgy that makes the conventional elements of the dramatic structure the main criterion of criticism, the problem arises of not being able to determine these types of plays’ aesthetic value. Based on this problem, the current article attempts to comprehend using allegorical aesthetics Müller’s play The Hamlet Machine, which cannot be evaluated using the concepts and methods of organic aesthetics that classical dramaturgy uses. This article analyzes The Hamlet Machine using a dramaturgical method that incorporates the distinctive features of the postdramatic structure as the criterion of criticism. Allegory, double-coding technique, the rhizomatic structure of the play consisting of fragmentary actions, the heap of events unfolded by the theatrical process replacing the dramatization process, collages and montages, intertextuality, and the postdramatic structure were revealed by showing how the play had abandoned the dramatic model of communication using the model of addressing and the monologue order, as well as examples from the play.

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